Bonus: Recap of the Develop Module
so yesterday we spent most of the time in the develop module learning how to fix it, enhance your photos using most of the tools and techniques in the develop module. I want to just do a little bit of recap of that by working fairly quickly through one photo. I'm not going to re explain everything explained yesterday, but well, we're gonna work this photo and color, and then ultimately, what we're gonna do is also create a black and white version. So that's kind of the plan for right now. So I'm gonna work this photo here for you guys here in the studio. It's number six, and I'm gonna start out by cropping this photo. So I'm gonna click on the crop tool, and I'm just gonna drag it in. You know what? It's almost becoming a square. I might as well make it exactly square. So here in the top of the crop tool, I'm gonna click on the drop down and choose 1 to 1 for the proportions. And then I can click and drag to get a different part of the photo. Put the crop tool away, and that's a little...
tight, but that'll dio, I don't need to do any spot removal with this work. Certainly no red. I work on this photo, so I'm gonna go ahead and come down to the basics panel. Now, I'm gonna work through this using the light room three technology. Right now I have this exclamation point which tells me hey, you upgraded from light from three. This photo is still using that technology, so I'll quickly show how it would work. The basics panel it light room three first. But you, like from four users don't get confused again. Go through the workflow with that as well. So for this photo, I'm gonna set exposure for how bright I want the brightest tones. That's what I would do in light room three. So I'm looking kind of out of the clouds here and making sure I don't blow out any highlights in the history, Graham, which I explained in depth yesterday. And then I'm gonna go to the black slider to set the black point How dark the darkest tones should be right now. There. I've got a lot of blocked up shadows, so I'm gonna slide blacks back to zero to get that detail back now recovery and fill light or are for issues so I don't have any blown out highlights. It would. It would be a good idea to add some light into the shadows, though, to kind of brighten up that building. Now I'm gonna scroll down a little bit. Got to get out of this maximum here. And the brightness that looks fine contrast make it a little bit punchier. Maybe the brightness is a little too bright. It's really a balancing act, and then I'll come down and add a little bit of clarity or three dimensionality. Light from three tends to give you heavy shadows on edges, so be careful with that and then I'll add some vibrance. But vibrance tends to Teoh affect the the trees or the too much, so double click on that to reset, try saturation. So I've concluded. I need to work on the colors individually. I can't get what I want between this guy and the grass. So next I would goto working on individual colors. But before I do that, let me just go through that exact same thing using the light room for version. So I'm gonna hit the update button here. Updated toe light room for technology. The new process version. And it just shows me the conversion here from light room three toe light room for I'm gonna click back on this single frame so that I'm not looking at before and after mode, and I'm going to start. So what it did was it translated my light room three. Work into the light room four sliders. I'm gonna reset all of these, though, to say you know what? I want to start from scratch again with this photo using light room for so to reset a slider, remember? Just double click on the word. Okay, so now we're thinking light room for workflow and technology with which is different. So I'm gonna take the exposure slider up. Not for the white point, but for the mid tones, the average values. So now I'm looking probably in these trees here or a little bit into the building here. I'm not looking at the brightest tones in the sky. Consider adding a little bit more contrast, but I need some more light in this building. I need some more light in the shadows, so I'll come down to shadows here and just add some light in so shadows and light before is a very powerful slider. It's very it's it's very effectively isolates the shadows. The highlights are a bit bright in the sky, so I'm gonna bring the highlights down a little bit. Okay. Next they'll scroll down. I'll also add some clarity Light room for clarity. I don't have to worry so much about, uh, halos long edges, dark shadows along edges and I'm gonna work on the colors individually Now, rather than use vibrance and saturation so I'll scroll down to the H I sell pounds HS allows me to work on individual colors, remember? So I'm gonna click on luminous for brightness and darkness and I want to dark in the blues in the sky Or really, I want to dark in the blues And they happen to be in this guy. So I'm gonna grab my handy targeted adjustment tool that we learned about yesterday and I'm gonna click and drag down in this guy too dark in the blues. I just love how that works. And then I'm gonna go to the saturation tab here. Actually, while I'm here, I'm also going to click and drag down to dark in the's, the yellows and the greens in the photo. So light room, it's just sliding. Whatever slider it needs, Teoh or whatever, slider um, pertains to the colors under which I'm clicking and dragging so yellow and green in this case. Next we'll go to saturation and I'll saturate this guy just a little bit more and we'll call. We'll call this done. I can, you know, I can spend lots of time just fine tuning everything you know, being real, real precise. But I think that kind of recaps. Recaps that so far. Now in this photo, this left hand side here is just too bright my eye goes to, and there's no way to isolate it. Using the panels that we have that we've learned, I haven't used the tone curve this morning that allows me remember from yesterday to control ranges of tones, highlights, lights, darks, shadows. But this these air basically light tones, but there are other light tones in the photos, so I can't affect that area without affecting other areas as well. So I'm down to relying on the adjustment brush, so the adjustment brush allows me to make local changes and we spent a lot of time yesterday learning all of the power of the adjustment brush. So I'll click on the adjustment brush and I need to say what I want to dio. But light room is remembering what I did last time. So I'll double click on the word effect, which I think I actually did say in my dreams last night as I was dreaming of teaching so hopefully not out loud and OK, so I double clicked on the word effect and I want to paint with negative exposure and I don't know how much because again, as I said yesterday, you can't see until you start painting, but I'm just gonna use the scroll wheel in my mouse and to make get a smaller brush and I'll just paint this area and and again I could be more precise. We'll just go ahead and do this area here as well. And now it's way too dark, of course, but I can take the exposure slider up now to get exactly what I want. Now I'm gonna do one more new adjustment. I'm gonna click on new in the adjustment brush and double click on the word effect and go with positive exposure. And I just want to brighten up this front part of the building a bit, and I'll do one more new one now, now that I've started this like, I can't stop. I know we need to move on to other things, but like, this part of the building is still still too dark. So I'm being a little sloppy here, but I would do as many new adjustments is I need Teoh to really get the focus onto the front of this building, maybe even another new one just to brighten up this sign, You know, just to get people to focus on that. So I'm gonna call this call this done at this point, though.